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The Anti-Artist Talk Series at Performa Institute Youmna Chlala
November 15, 2011
In X cannot exist without Y, the tensions between body/space, performer/audience and private/public are dispersed in order to uncover the role of space in knowledge production. During this time of political and geographic shifts, body, language, memory and object are instrumental in the production knowledge. When we "make history", we carve out space. The audience and the artist will participate in a series of disruptive acts and sets of instructions. The product of these interactions will then be projected as way to propel us into the future.
Part of "The Anti-Artist Talk Series" Presented by ArteEast at the Performa Institute. In this series of talks artists explore a theme tangential to their own work in an attempt to dismantle the predominance and formulaic structure of the conventional artist talk. Curated by Barrak Alzaid, Artistic Director ArteEast
Tickets: FREE, Limited Seating. Register Today.
The Anti-Artist Talk Series – November 15
1:00 p.m. Fatima Al Qadiri and Khalid Al Gharaballi, Going Over
2:00 p.m. Abbas Akhavan, Phantom Head
3:00 p.m. Youmna Chlala, X Cannot Exist Without Y
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The Anti-Artist Talk Series at Performa Institute Fatima Al Qadiri & Khalid Al Gharaballi
November 15, 2011
Going Over is an illustrated meditation on the global marketing of masculinity through hair, hair products and signature hairstyles, focusing on the microcosm of Kuwait and the 'exiting of trends' by Kuwati youth, in contrast with the hair conservatism of an older generation.In this presentation, Al Qadiri and Al Gharaballi explore historic comparisons, hair regulation reports from Iran and a case study conducted in Kuwait; the discussion will expose the delicate relationship between hair and culture and, more specifically, between barber and client. Commissioned by DIS magazine and Bidoun Projects.
Part of "The Anti-Artist Talk Series" Presented by ArteEast at the Performa Institute. In this series of talks artists explore a theme tangential to their own work in an attempt to dismantle the predominance and formulaic structure of the conventional artist talk. Curated by Barrak Alzaid, Artistic Director ArteEast
The Anti-Artist Talk Series – November 15
1:00 p.m. Fatima Al Qadiri and Khalid Al Gharaballi, Going Over
2:00 p.m. Abbas Akhavan, Phantom Head
3:00 p.m. Youmna Chlala, X Cannot Exist Without Y
Tickets: FREE, Limited Seating. Register Today.
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The Anti-Artist Talk Series at Performa Institute Abbas Akhavan
November 15, 2011
Attempts at representing the "mad" have ranged from historical models of physiognomy to abstraction and back again to the physical. But despite what the cause may be, from humors to black biles and other stones, race and sexuality have more often than not played a significant role in the creation of the mad, other, fool, artist, fallen, melancholic, idiot, dummy, dumb-ass, shit pisser, possessed, wild man, beast, and so on – "Phantom head" is video performance that uses madness as an artistic strategy to talk about the collapsed space between the rectum and the head, the enemy with the parent, the mad and the genius... and so on.
Part of "The Anti-Artist Talk Series" Presented by ArteEast at the Performa Institute. In this series of talks artists explore a theme tangential to their own work in an attempt to dismantle the predominance and formulaic structure of the conventional artist talk. Curated by Barrak Alzaid, Artistic Director ArteEast
Phantom Head was created in part at The Watermill Center – a laboratory for performance as part of the inaugural ArteEast / Watermill Center Residency Partnership, Fall 2011.
Tickets: FREE, Limited Seating. Register Today.
The Anti-Artist Talk Series – November 15
1:00 p.m. Fatima Al Qadiri and Khalid Al Gharaballi, Going Over
2:00 p.m. Abbas Akhavan, Phantom Head
3:00 p.m. Youmna Chlala, X Cannot Exist Without Y
This program and the rest of the Across Histories 2011 series were made possible through generous grants from NYSCA and DCA.
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Abbas Akhavan – Phantom Head Open Workshop Watermill / ArteEast residency Partnership
November 12, 2011
Attempts at representing the "mad" have ranged from historical models of physiognomy to abstraction and back again to the physical. But despite what the cause may be, from humors to black biles and other stones, race and sexuality have more often than not played a significant role in the creation of the mad, other, fool, artist, fallen, melancholic, idiot, dummy, dumb-ass, possessed, wild man, beast, and so on – Phantom Head is a video performance that uses madness as an artistic strategy to talk about the collapsed space between the rectum and the head, the enemy with the parent, the mad and the genius, the origins of sacrifice... and so on.
This residency is part of the Watermill / ArteEast residency Partnership.
Abbas is also featured in the upcoming Anti-Artist Talk Series presented by ArteEast at Performa 11. Click HERE for more information.
Click HERE to read more about this event and to make a reservation. (Reservation Required)
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Residencies Talk Series Residency as Refuge?
November 1, 2011
Residency as Refuge? will interrogate the ways in which residencies can serve as a haven for artists working in fraught socio-political climates, or whose work subjects them to adverse risk or censorship in their home countries. The role of residencies as key facilitators of mobility and cultural exchange for artists working in such situations will also be discussed. Speakers include Wafaa Bilal, artist, New York; Sandra Skurvida, independent curator, New York Sohrab Kashani, Founder and Director of Sazmanab Project & Residency, Tehran.; and Todd Lester, Founder, Freedimensional, New York. Moderated by Barrak Alzaid, Artistic Director, ArteEast.
Image © Sazmanab Project & Residency
This program and the rest of the Across Histories 2011 series were made possible through generous grants from NYSCA and DCA.
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Lebanese Touring Program Chronicles of a Paradise Lost: Filming Absence (Lebanese Cinema 1965-2010)
October 31, 2011
This tour follows two critically acclaimed programs curated by ArteEast; The Calm After The Storm: Making Sense of Lebanon's Civil War in association with Film Society of Lincoln Center, and
the French Institute's (Alliance Française) World Nomads: Lebanon program.
Lebanese cinema is relatively young in comparison with that of neighboring Egypt or Syria. Lebanon’s fifteen-year history of civil war, which ravaged the country through 1991, stifled efforts to develop infrastructure for a viable film industry. However, the trauma of war also gave rise to a radical engagement with film: documentary and nonfiction genres proliferated and filmmakers were inspired to forge a subjective voice through a daring auteur cinema despite a dearth of resources, winning Lebanese cinema great international acclaim. It is a cinema with a distinctive identity: visually rich and complex, with narratives that defy conventions of plot and drama and blur the traditional boundaries between fiction and nonfiction.
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Launch Event: Genre-Specific Xperience album by Fatima Al Qadiri
October 21, 2011
Rhizome and the New Museum present the release of Genre-Specific Xperience, an EP by New York based artist and musician Fatima Al Qadiri out on UNO NYC October 25th, 2011.

Al Qadiri collaborated with six artists to create original music videos—these are Kamau Patton, Tabor Robak, Leilah Weinraub, Sophia Al-Maria, Ryan Trecartin and Rhett LaRue. On October 21st, the videos will be premiered, and Al Qadiri will discuss the process and ideas around GSX with Patton. GSX showcases five new pieces of music that each re-interpret different sub-genres of dance music: juke, hip hop, dubstep, electro-tropicalia, and ‘90s Gregorian trance.
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Residencies Talk Series Alternative Residencies
October 18, 2011
This first talk in our Residencies Series will look at new organizational models for residencies. We ask how residencies are being transformed alongside artistic development to meet the needs of artists and curators in an increasingly itinerant field. Residencies as catalysts for research, production, commissioning and social engagement/intervention within a critical framework will be addressed. How are programs for disciplines newer to residencies including film and curating being developed as well as informal strategies and residencies for art institutions?
Speakers include Mirene Arsanios, co-founder of 98weeks and ISCP resident, Lebanon; Omar Berrada, Dar Al-Mamun, Morocco; Ceren Erdem, independent curator, New York/Istanbul; Nora Razian, Batroun Projects, Beirut. Lawrence Abu Hamdan, Batroun Projects, Beirut. Moderated by Kari Conte, Director of Programs and Exhibitions, ISCP.
Image Credit © Batroun Projects
This program and the rest of the Across Histories 2011 series were made possible through generous grants from NYSCA and DCA.
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" Written in the Dust" Modern Mondays: An Evening with Mohamed Soueid
October 17, 2011
In conjunction with Mapping Subjectivity, Mohamed Soueid (b. Lebanon, 1959) presents his performance/ slide lecture Written in the Dust. A pioneer of Lebanese independent and experimental video production, Soueid began his career writing film criticism in the 1970s. He worked as assistant director to a number of filmmakers before directing his first film, Absence (1990), which is believed to be the first independent video production in Lebanon. Two of his subsequent features, Tango of Yearning (1998) and My Heart Beats Only for Her (2009), are also presented as part of the exhibition.
Written in the Dust proposes a bold, uncanny coupling of Middle Eastern history—particularly the Lebanese civil war—with the history of cinema. Narrated in the first person and woven with autobiographical elements, the work caustically challenges received canons and conventional paradigms, but beyond the humor is a bold proposal for a radical rewriting of regional and personal history.
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Archives, Appropriation, and Montage: Rewriting History and the Personal in Arab Film
October 13, 2011
This roundtable discussion focuses on the reflection of modernity in contemporary Middle Eastern cinema, with a particular focus on the reconstitution and appropriation of social, political, and personal perspectives of history through the use of found footage. Participants include film critic and historian Jean-Michel Frodon, independent film and visual arts curator and writer Rasha Salti, artist and filmmaker Rania Stephan, and scholar Karim Tartoussieh. Organized in conjunction with the exhibition Mapping Subjectivity: Experimentation in Arab Cinema, 1960–Now, Part II.
(Presented in collaboration with MoMA’s Department of Education)
Click through to see a video of the event:
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Mapping Subjectivity, Experimentation in Arab Cinema 1960-Now, Part II Museum of Modern Art, New York
October 5 - 23, 2011
This three-part program aims to map a largely unknown heritage of personal, non-mainstream, artistic and sometimes experimental cinema from the Arab world. Emerging in the 1960s, from within a wider trend of vanguard and counter-cultural experimentation in the arts (poetry, literature and theater), filmmakers crafted a language and form that broke away from established conventions and commercial considerations, ultimately clearing the ground for subjectivity to find expression. A significant part of the inventive, daring and formally challenging filmmaking at work today in the Arab world has roots –actively and consciously or not– in this pioneering drive to experiment with narrative, representation and the production of images. Programmed cross-national and cross generational, the films in the series highlight kinships, intangible connections, and conversations.
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Israeli and Palestinian Cinema: Shaping Memory and Imagining the Future Conversation with Film Screenings
October 3, 2011
Scholar Ella Habiba Shohat and curator Rasha Salti discuss the new edition of Shohat's seminal book, Israeli Cinema: East/West and the Politics of Representation (Library of Modern Middle Eastern Studies, 2010) which shaped new paradigms for critical discussion of 'national cinema' and the Zionist master-narrative. Their conversation is punctuated by brief excerpts from Palestinian films produced within Israel, and diasporic films that address contested geography of Israel/Palestine. New School faculty member Sumita Chakravarty, a film scholar and author, offers introductory remarks.
‘Shohat's Israeli Cinema is a tour-de-force. Not only is it theoretically sophisticated, it is also deeply rooted in the changing politics and perceptions of the Israeli predicament as they bear upon Israeli films. With brilliant humanistic insight, Shohat describes the underlying ideological myths and allegorical structures and contributes significantly to a new, enlarged understanding of the dynamics between Ashkenazi and Sephardic communities, and between them and the Palestinians.’
– Edward Said, 1989
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ArteEast Launches Campaign Celebrating Start of Second Decade September 21, 2011
Trailer from ArteEast on Vimeo.
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2011 Benefit Auction & Reception September 21, 2011
2011 Benefit Auction & Reception
Wednesday, September 21, 2011
6 – 9 p.m.
Phillips de Pury & Company
450 West 15 Street
New York NY 10011
Donated works by:
Afsoon, Negar Ahkami, Shiva Ahmadi, Sadik Alfraji, Ayad Alkadhi, Mounira Al Solh, Nihad Al Turk, Kamrooz Aram, Shoja Azari, Lara Baladi, Yto Barrada, Walid El Masri, Mona Hatoum, Rachel Hovnanian, Shahram Karimi, Laleh Khorramian, Alexis Laurent, Ahmed Mater, Shirin Neshat, Nicky Nodjoumi, Mohannad Orabi, Walid Raad, Arnaud Rivieren, Marwan Sahmarani, Kais Salman, Soody Sharifi, Khaled Takreti, Omran Younes, Shawki Youssef.
2011 ArteEast Benefit Auction e-Catalog
Bid Now
Online bidding begins Saturday, September 10th.
Tickets
Tickets $100
Purchase online now:
or mail your check, payable to ArteEast:
ArteEast
1178 Broadway, 3rd Floor
NY, NY 10001
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Be...longing
Fouad Elkoury July 29 - October 1, 2011
Beirut Art Center is pleased to present Be…longing, a solo exhibition dedicated to the renowned Lebanese artist and photographer Fouad Elkoury. Be…longing presents photographs from Fouad Elkoury’s forty-year career, many of which have not been shown until now. From Beirut to Paris, from Cairo to Istanbul, and from other places where he has left part of himself behind, his images form a pictorial autobiography that extends across different cultures. Regardless of his subject – concrete skeletons of skyscrapers under construction, an armed soldier waiting behind a pile of sandbags, a fur drying on a clothesline – Elkoury’s photographs convey the ineluctable passing of time.
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